Ruddy Yurts: Discography
Albums 10,000 GigaYurts Often regarded as the Ruddy Yurts equivalent of Bob Dylan's first electric album, this was an early collaboration with the six musicians who, along with Yurts, became the Ruddy Yurts Octet. Yurts' use of the electric bassoon, an instrument whose design he claimed originated from the work of Nikolai Tesla, marked a new departure in amplified woodwind, although it was not without its teething troubles - quite literally, in this case, as the ingress of moisture into the instrument led, in early models, to a powerful electric shock being delivered to the performer, which managed on one occasion to set fire to Yurts' teeth. The use of this instrument allowed Yurts to broaden his scope greatly, and enabled the usually fairly quiet bassoon to hold its own against the amplified pyrotechnics of the Octet. Yurts was highly sceptical of the quality of recorded music available on standard formats, and was insistent that 10,000 Gigayurts be cut to run at the unusual speed of 44⅔rpm as opposed to the standard 33⅓ of normal LPs. Many listeners, unable to source the prohibitively expensive players necessary to play records at this unusual speed, were content to listen to it at 45rpm, to the derision of serious Yurts aficionados who pointed out that the artificial harmonics used in a number of the tracks were completely ruined by the shift in pitch this produced. The album remains, to the present day, one of Yurts' most popular recordings. Blind Venetian Expanse Of Yurts Gobble Whoa Woe Big Yellow Box Yurtsterday This was Yurts' own tribute to the Beatles, and consists of a number of covers of Beatles tracks. The release of the album prompted some legal difficulties when it emerged that no permission had been sought from Apple Music for the recordings, but the matter was resolved out of court when it was accepted that, owing to the radical freeform nature of Yurts' performing, none of the covers were recognisable as the original songs in any case, and a token payment was agreed in respect of the album's use of the song titles alone. Tracks were: Side 1 # "Yesterday" (9'12") # "I Am The Eggman" (11'0") # "Lucy In The Sky With Diamonds" (speed mix) (1'34") Side 2 # "Ob La Di, Ob La Da" (21'52") High Rise Hydraulic System Leak Kick Against The Pricks This album's title refers to the phrase in the Tyndale Bible, Acts IX, and is often taken as a statement of defiance by Yurts regarding the legal battles he was embroiled in at the time of recording. Kings Cross Angel Falls Last Starfighter Love Yurts Luck Of Understanding Muddy Yurts Nazarine Thunder Box Pages From The Red Book Of Redmarch, Volume 1 Sea Changes Songs of Taiga and Ice Tech Tonic The Nethersphere transvaginal ultrasound truthless for the tories uncomradely liberal shitstain white pill Yurts at the Marquee Originally thought to be a bootleg recording, it then emerged that this "lost" record of Yurts' 1979 session at the Marquee had been recorded through the sound desk, and doctored with additional ambient sound to appear to be a bootleg, probably to avoid legal problems with the release of an official recording during a period when Yurts was in dispute with his record company. Initially released only on digital compact cassette, the packaging was carefully designed to resemble a bootleg recording, which was reportedly achieved by using large numbers of YTS trainees whose job was to write liner notes and track listing onto blank cassette inners in blue biro. A number of rare examples exist where the writing was done in black, and one unusual example has been found where the material was translated into Sanskrit. Problems with the quality of the tape cassettes used have meant that very, very few copies of this recording remain extant. The master tapes are presumed to be lost, although rumours exist of a digital copy. with ‘nail gun’ acoustic shock Extraneous Umlauts This album was originally released with the title written as "Extränëöüs Umläüts". but following extra-legal threats from the band Mötörhead ("do it and we'll come round and shove Ruddy's ruddy bassoon where the sun don't shine"), Yurts' record company demurred, and removed the umlauts. The album was a commentary on the trend towards bands naming themselves with spurious diacritical marks in the name (possibly something Yurts was offended by given his part-Finnish/Estonian/Namibian heritage), and consisted of a series of pieces written using chords which, with suitably-placed umlauts, spelled out puns in a number of different languages. This album was a rare foray of Yurts' into the realm of metal music, and is notable for its use of three drummers, each with two kick drums, and Yurts' own use of a titanium bassoon, fitted with a grenade launcher and flamethrower, which he used to great effect in the single staged performance of the album, during which the concert hall burned down.